Cumulus Mingus by Mingunos "La banda arranca más o menos en 2013 a partir de un cuarteto que se expande a septeto con la idea de toc...
WKCR NY NY
viernes, 26 de junio de 2009
JULIO 1978 WILD BILL DAVISON EN BUENOS AIRES
Wild Bill Davison (cnt) Marito Cosentino y sus Jazz Cats: Miguel Piccolo (tb) Marito Cosentino (cl) Enrique Varela (ts) Juan C. Cirigliano (p) Enrique Costa (g) Guillermo Facal (b)Eduardo Casalla (d)
Teatro "La Cova", Martinez, Argentina, July 26-27, 1978
Todo mi ser Domingo Algun dia te arrepentiras Pavoneandose con algun asado
Buenos Aires, July 28, 1978 Septiembre en la lluvia Me sentiré a escribir una carta Eres demasiado hermosa
Azucar Someday you'll be sorry Struttin' with some barbecue There'll be some changes made - Memories of you - Rose room - After you've gone - Running wild -
Wild Bill Davison and the Red Hot Pods, Vienna, recorded 1978 this video in the Jazzland
MARITO COSENTINO: Clarinetista y director de orquesta nacido en 1930. Su padre fue saxofonista de orquestas de Jazz y de la Banda Sinfónica de la Policía Federal. Estudió música y clarinete, comenzando su actividad profesional a los 11 años con la orquesta de Eddy Kay. Luego pasó a la de Barry Moral, como saxo tenor, y posteriormente a la de Eduardo Armani. Dejó la orquesta para formar la Casablanca Jazz, con Dante Amicarelli, Quique Viola, Tito Colom y otros músicos. Este grupo se convirtió en la orquesta de Ray Nolan, seudónimo de Tito Colom. Luego formó, siempre con Amicarelli, la Montecarlo Jazz. En la década del 60 fue acompañante habitual de cantantes que grababan en CBS. Alternó esta tarea con la interpretación y composición de música sinfónica. En los 70 formó los Jass Cats, integrados por Adolfo Rossini (trompeta), Christian Kellens (trombón), Enrique Varela (saxo tenor), Juan Carlos Cirigliano (piano), Ricardo Lew (guitarra y banjo), Alfredo Remus (contrabajo) y Pichi Mazzei (batería). Rossini, Varela y Cirigliano integraron también la gran orquesta con la que Cosentino grabó a mediados de los ochenta. http://www.rockolafree.com.ar/ARG-M1.htm
Wild Bill Davison with Red Hot Pods
Rec. in Vienna 1978, Jazzland.
Wild Bill Davison co Dieter Bietak co Claus Nemeth cl Lothar Reichhold p Erwin Frassine bjo Bibi Libowitzky b Helmuth Schneeweiss dm
IT SEEMS like only yesterday; or maybe the day before yesterday, that I first heard the sound of "Wild Bill" Davison's horn. The record being aired on radio KRE's early morning "Alarm Klock Klub" featured the hottest cornet I'd ever heard. I phoned the program's DJ, Phil McKernan (father of the Grateful Dead's "Pig Pen" ) to get the title. The recording was a 12-inch 78 rpm item, "That's a Plenty," just issued, in 1944 on the Commodore Music Shop label. "That's a Plenty" was Davison's first recording under his own name - and it proved for the remaining 46 years of his life to be his best known and most admired recording - and he made hundreds. A couple of years later, the Navy having conveniently stationed me fairly close to Manhattan, I went to opening night at Eddie Condon's Jazz Club in Greenwich Village, mostly to hear Wild Bill live. I heard him all right - in fact, with the club's doors open, most of lower Manhattan could hear that horn. We became casual acquaintances a few weeks later, good friends much later. His cornet playing - whether searingly hot or delicately cool - continued for all his life to be some of my favorite jazz sounds. And they still are. "The Wildest One - the Life of Wild Bill Davison" by Hal Willard (Avondale Press; 437 pages, illustrated; $26.75) not only tells Davison's story, it also captures the jazz environment and the cultural history of his times. It is a history of jazz in the sense that Davison's life was jazz history. Davison hated all definitions and categorizations, especially in music. "Jazz," he said, simply "is the way I play." Willard spent years putting this volume together, most of it while Davison was still alive. It is a personal, often intimate glimpse of Davison the brilliant musician, the remarkable boozer; the sensitive human who built ship models and model railroads and collected World War II memorabilia; and the noisy, arrogant malcontent. Beginning with Davison's boyhood in Defiance, Ohio, the book rambles through his life by way of strong writing. Willard is a veteran journalist, mostly with the Washington Post, and jazz fan of long standing. Featured in "The Wildest One" are an amazing number of reminiscences and anecdotes - "Wild Bill got to be 25 years old, liked it, and just stayed there," is one. Another - "I consider myself an endangered species," Davison often said when he felt the "old jazz crowd" had died and deserted him. Born in 1906, Davison was playing professionally by 1922 and working all over the Midwest for years to come. He met up with Bix Beiderbecke, was in the auto wreck that killed clarinetist Frank Teschemacher, idolized Louis Armstrong, and by the 1930s was, like most hot jazzmen, going nowhere and drinking lots. This book chronicles Davison's every move, has comments and reminiscences based on 500 interviews and 60 taped hours with Davison. There is, of course, too much detail, too many irrelevant memories. This is the story, often a sad one, of an artist who could and should have made it to the top in his chosen field. But he didn't; he spent most of his life after his successes in the 1940s and '50s playing festivals, working one-nighters, traveling, traveling; moving from East Coast to West, from the United States to Denmark to Australia. His encounters with other jazz greats and his attitudes and opinions of their work are duly documented, as are his many marriages. The fifth and final Mrs. Davison, Anne McLauchlan (who survives) stuck with Wild Bill for the last 33 years until his death in 1989 at 83. Without her he would have followed most of his hard-driving, high-living musician friends to an early grave. http://www.sfgate.com/cgi-bin/article.cgi?f=/e/a/1997/05/16/WEEKEND13484.dtl&type=printable